Third recording (DHM). Not dissimilar to the second in conception but a bit more independent and expressive voicing and on a more beautiful harpsichord, better recorded and I think more inspired playing, with more interesting articulation and "textures" This is the best one.

I've been doing some back-&-forth comparative YouTube-ing of Leonhardt III vs. Pinnock. I chose Pinnock as a comparison because his seems to be a well-regarded standard version. While Pinnock is good and solid, I have to say I find Leonhardt III a lot more interesting - there just seems to be "more going on" in the individual variations.

I've seen this Leonhardt described as eccentric by some, or even "perverse." I guess that's what I like about it!

I've seen this Leonhardt described as eccentric by some, or even "perverse." I guess that's what I like about it!

I'd be interested to know what the perverse elements are - perverse means persistent in error. Maybe his attitude to repeats was perverse.

Eccentric is also a bit puzzling, If you look at the recordings prior to it, there just is no stylistic centre to deviate from. We had recordings by Landowska, Gould, Verlet, Martins, Kempff, Tureck, Landowska . . . this was a time of great freedom and experimentation, more so than today. I think if anything Leonhardt's final recording was instrumental in creating a mainstream of opinion about how to read the score.